Comic Review: Darth Vader (2020) #49

In a composition clearly inspired by the classic E.T. movie poster, a cybernetic finger taps into Vader’s mind in the stunning direct cover. It is minimalistic in colours and details, making the moment stand out even more. Black, red, and yellow seem to be the recurring theme for all the variants too. Ruan uses it to great effect showing Vader standing above a battlefield, with TIE Fighters silhouetted against a red moon. Meanwhile Sprouse’s anniversary variant is the sunset Jedi Council testing Anakin’s connection to the Force.

After Sabé, former handmaiden to the Queen of Naboo, tests Luke Skywalker to ensure his allegiance to the light side of the Force, the two are racing against time to fix their ship before Darth Vader arrives. But it’s not the dreaded Sith Lord who are hunting Luke down. Instead, it’s the Imperial Schism who are determined to destroy the young Jedi in a quest to bring down the Emperor. Leading them is Sly Moore who proposes an ultimatum to Skywalker.

Having completed Sabé’s test and proving that he has control over his anger, Luke gets to work helping to fix their ship. But due to Warba’s betrayal, the Empire are on their way, so it’s a race against the clock. It’s great to see more of Luke and Sabé interacting. She’s one of the few people left who knew his parents, which likely aids them in forming a quick camaraderie. But they don’t have long, and the Empire arrives before they can take off.

And it’s not Vader. The Imperial Schism are here to destroy Skywalker using the kyber weapons stolen from Vader. Or that was the original plan but then Sly Moore seems to go off script. She offers Luke a place by her side, suggesting that they could form a new Rule of Two. If Luke doesn’t accept then she’ll destroy the whole planet using a weapon previously featured in the series and somehow procured without the Empire noticing. It’s a bit of an odd twist.

While it’s not a secret that Sly Moore is certainly Force sensitive, there has never been any mention of her being a Sith or knowing about the Rule of Two. She may have overseen the Emperor’s relationship as master to Vader, yet her suddenly suggesting that Luke could become her apprentice feels very strange. Although Sly has been making power moves this entire series – none of which have worked – her ambitions here seem far too lofty for her character.

Thankfully Luke’s response is exactly as would be expected. He doesn’t want anything to happen to this planet and the creatures that call it home. He can feel all the living creatures, no matter how small, through the Force and he’s willing to give himself up to the Imperial Schism to protect everyone. And this is where I have a bit of a problem with the storyline. Vader appears just in time to save Luke using the Force.

In the previous issue Vader was overtaken by the MAR Corps and implanted with a droid brain so he couldn’t control himself. Its effects last all of three pages in this issue before he’s chasing down the Imperial Schism once again. It makes the events of Darth Vader (2020) #48 feel pointless, but not only that, Vader saving Luke doesn’t align with his characterisation at this point. The whole throne room scene during Return of the Jedi is climactic because it shows Vader finally turning on his master to save his son. It’s a huge moment.

Having a similar moment before that final battle within Darth Vader (2020) #49 feels wrong. It takes away from Vader’s choice during Episode VI. Everything about this battle between Darth Vader and the Imperial Schism is so over the top it actually seems forced. There was no reason that Vader had to save Luke – the technology could have failed, Luke could have used the Force himself, anything else could have fitted. It’s a frustrating piece of storytelling. 

Thankfully this giant battle sequence does give Ienco so much room to create incredible panels packed full of details. Between the droid army and the planet killing weapon, there is non-stop action across all the art. It makes the quieter moments focusing on the characters, like Luke saving an Imperial officer, all the more impactful too. And Ienco really uses the snowy location to his advantage, with the silhouettes of the trees and falling snowflakes adding to the sense of drama.